CHARMIAN, WHAT'S ALL THIS ABOUT AN EXTRAORDINARY CORNISH GENIUS?
D'YOU LIKE HIM SO MUCH?"—[Page 76]

THE
WAY OF AMBITION

BY

ROBERT HICHENS

Author of "The Garden of Allah,"
"The Fruitful Vine," "The Woman with the Fan," "Tongues of Conscience," "Felix," etc.

WITH A FRONTISPIECE IN COLOR
AND FOUR ILLUSTRATIONS IN BLACK-AND-WHITE BY
J. H. GARDNER SOPER

NEW YORK
FREDERICK A. STOKES COMPANY
PUBLISHERS
Copyright, 1913, by
Robert Hichens
Copyright, 1912, 1913, by
The Butterick Publishing Co.
August, 1913

CONTENTS

ILLUSTRATIONS

THE WAY OF AMBITION

CHAPTER I

"We want a new note in English music," said Charmian, in her clear and slightly authoritative voice. "The Hallelujah Chorus era has gone at last to join all the Victorian relics. And the nation is drifting musically. Of course we have a few composers who are being silly in the attempt to be original, and a few others who still believe that all the people can stand in the way of home-grown products is a ballad or a Te Deum. But what we want is an English composer with a soul. I'm getting quite sick of heads. They are bearable in literature. But when it comes to music, one's whole being clamors for more."

"I have heard a new note in English music," observed a middle-aged, bald and lively-looking man, who was sitting on the opposite side of the drawing-room in Berkeley Square.

"Oh, but, Max, you always—"

"An absolutely new note," interrupted Max Elliot with enthusiastic emphasis, turning to the man with the sarcastic mouth who had just spoken. "Your French blood makes you so inclined to incredulity, Paul, that you are incapable of believing anything but that I am carried away."

"As usual!"

"As sometimes happens, I admit. But you will allow that in matters musical my opinion is worth something, my serious and deliberately formed opinion."

"How long has this opinion been forming?"

"Some months."

"Some months!" exclaimed Charmian. "You've kept your new note to yourself all that time! Is it a woman? But of course it can't be. I don't believe there will ever be a great woman composer."

"It is not a woman."

"Was it born in the gutter?" asked Paul Lane.

"No."

"Don't say it's aristocratic!" said Charmian, slightly screwing up her rather Japanese-looking eyes. "I cannot believe that anything really original in soul, really intense, could emanate from the British peerage. I know it too well."

"It is neither aristocratic nor from the gutter. It is of the middle classes. Its father is a banker in the West of England."

"A banker!" said Charmian in a deplorable voice.

"It is Cornish."

"Cornish! That's better. Strange things sometimes come out of Cornwall."

"It has a little money of its own."

"And its name—"

"Is Claude Heath."

"Claude Heath," slowly repeated Charmian. "The name means nothing to me. Do you know it, Mr. Lane?"

Paul Lane shook his smooth black head.

"Heath has not published anything," said Max Elliot, quite unmoved by the scepticism with which the atmosphere of Mrs. Mansfield's drawing-room was obviously charged.

"Not even a Te Deum?" asked Charmian.

"No, though I confess he has composed one."

"If he has composed a Te Deum I give him up. He is vieux jeu. He should go and live in the Crystal Palace."

"And it's superb!" added Max Elliot. "Till I heard it I never realized what the noble words of the Te Deum meant."

Suddenly he got up and moved toward the window murmuring, "All the Earth doth worship Thee, the Father Everlasting."

There was a silence in the room. Charmian's eyes suddenly filled with tears, she scarcely knew why. She felt as if a world was opening out before her, as if there were wide horizons to call to the gaze of those fitted to look upon them, and as if, perhaps, she were one of these elect.

"Father Everlasting!" The words, and the way in which Max Elliot had spoken them, struck into her heart, and so made her feel keenly that she was a girl who had a heart that was not hard, that was eager, desirous, perhaps deep. As to Paul Lane, he stared at his remarkably perfect boots, and drew down the corners of his lips, and his white face seemed to darken as if a cloud floated through his mind and cast a shadow outward.

In the pause the drawing-room door opened, and a woman with blazing dark eyes and snow-white hair, wearing a white tea-gown and a necklace of very fine Egyptian scarabs, came in, with an intense, self-possessed and inquiring look. This was Mrs. Mansfield, "my only mother," as Charmian sometimes absurdly called her.

"You are talking, or you were talking, of something or somebody interesting," she said at once, looking round her at the three occupants of the room.

Max Elliott turned eagerly toward her. He rejoiced in Mrs. Mansfield, and often came to her to "warm his hands at her delightful blaze."

"Of somebody very interesting."

"Whom we don't know?"

"Whom very few people in London know."

"A composer, my only mother, who never publishes, and who is the son of a banker in the West of England."

Charmian seemed suddenly to have recovered her former mood, but she blinked away two tears as she spoke.

"Why shouldn't he be?" said Mrs. Mansfield, sitting down on a large sofa which stood at right angles to the wood fire.

"I know, but it doesn't seem right."

"Don't be ridiculously conventional, my only child."

Charmian laughed, showing lovely, and very small teeth. She was not unlike her mother in feature, but she was taller, more dreamy, less vivid, less straightforward in expression. At times there was a hint of the minx in her. She emerged from her dreams to be impertinent. A certain shrewdness mingled with her audacity. At such moments, as men sometimes said, "you never knew where to have her." She was more self-conscious and more worldly than her mother. Secret ambition worried at her mind, and made her restless in body. When she looked at a crowd she sometimes felt an almost sick sensation as of one near to drowning. "Oh, to rise, to be detached from all these myriads!" she thought. "To be apart and recognized as apart! Only that can make life worth the living." She had been heard to say, "I would rather sink forever in the sea than in the sea of humanity. I would rather die than be one of the unknown living." Charmian sometimes exaggerated. But she was genuinely tormented by the modern craze for notoriety. Only she called it fame.

Once she had said something to her mother of her intense desire to emerge from the crowd. Mrs. Mansfield's reply was: "Do you believe you have creative force in you then?" "How can I know?" Charmian had answered. "I'm so young." "Try to create something and probably you'll soon find out," returned her mother. Since that day Charmian had tried to create something, and had found out. But she had not told Mrs. Mansfield. She was now twenty-one, and had been just eighteen when her mother's advice had driven her into the energy which had proved futile.

Max Elliot crossed the room and sat down on the sofa by Mrs. Mansfield. He adored her quite openly, as many men did. The fact that she was a widow and would never marry again made adoration of her agreeably uncomplex. Everybody knew that Mrs. Mansfield would never marry again, but nobody perhaps could have given a perfectly clear explanation of how, or why, that knowledge had penetrated him. The truth was that she was a woman with a great heart, and had given that heart to the husband who was dead, and for whom she had never worn "weeds."

"What are we to do for Charmian, my dear Max?" continued Mrs. Mansfield, throwing a piteous look into her mobile face, a piteous sound into her voice. "What can anyone do for a young woman of twenty-one who, when she is thinking naturally, thinks it impossible for a West of England banker to cause the birth of a son talented in an art?"

"I always said there was intellectual cruelty in mother," said Charmian, drawing her armchair nearer to the fire.

"It's bracing, tones up the mind," said Paul Lane. "But what about this new note? All we know is a Cornish extraction, a banker papa and a Te Deum."

"Oh—a Te Deum!" observed Mrs. Mansfield, looking suddenly sceptical.

"I know! I know!" said Max Elliot. "I didn't want to hear it till I had heard it. And then I wanted to hear nothing else. The touch of genius startles everything into life."

"Another genius!" said Paul Lane.

And thereupon, as if acting on a sudden impulse, he got up, said good-bye, and went away with his curiosity, if he had any, ungratified.

"He's spoilt by the French blood his mother gave him," said Mrs. Mansfield as the door closed. "If he had been all French, one might have delighted in him, taken him on the intellectual side, known where one was, skipped the coldness and the irony, clung to the wit, vivacity and easy charm. But he's a modern Frenchman, boxing with an Englishman and using his feet half the time. And that's dreadful. In an English drawing-room I don't like the Savate. Now tell us, tell us! I am so thankful he is not a celebrity."

"Nor ever likely to be unless he marries the wrong woman."

"What do you mean by that?" asked Charmian with curiosity.

"A woman who is ambitious for him and pushes him."

"But if this Claude Heath has so much talent, surely it would be a fine thing to make him give it to the world."

"That depends on his temperament, I daresay," said Mrs. Mansfield. "I believe there are people who ought to hide their talents in a napkin."

"Oh, mother! Explain!"

"Some plants can only grow in darkness."

"Very nasty ones, I should think! Deadly nightshade! That sort of thing!"

"Poor dear! I gave her light in a vulgar age. She can't help it," said Mrs. Mansfield to Max Elliot. "We are her refined seniors. But sheer weight of years has little influence. Never mind. Go on. You and I at least can understand."

As she spoke she laid her hand, on which shone several curious rings, over Charmian's, and she kept it there while Max Elliot gave some account of Claude Heath.

"He's not particularly handsome in features. He's quite conventional in dress. His instinct would probably be to use the shell as a close hiding-place for anything strange, unusual that it contains. He crops his hair, and, I should think, wets it two or three times a day for fear people should see that it has a natural wave in it. His neckties are the most humdrum that can be discovered in the shops."

"Does he dislike his appearance?" asked Charmian.

"I daresay. The worst of it is that he has eyes that give the whole thing away to a Mrs. Mansfield."

"What, and not to me?" said Charmian, in an injured note.

"She's fairly sharp, poor dear!" observed Mrs. Mansfield, in a rescuing voice. "You mustn't be too hard on her."

Max Elliot smiled.

"And a Charmian Mansfield."

"What color are his eyes?" inquired Charmian.

"I really can't tell you for certain, but I should think dark gray."

"And where does he live?"

"In a little house not far from St. Petersburg Place on the north side of the Park, Mullion House he calls it. He's got a studio there which opens into a pocket-handkerchief of a garden. He keeps two women servants."

"Any dogs?" said Charmian.

"No."

"Cats?"

"Not that I know of."

"I don't feel as if I should like him. Does he compose at the piano?"

"No, away from it."

"He's unsympathetic. Cropped hair watered down, humdrum neckties, composing away from the piano, no animals—it's all against me except the little house."

"Because you take the wholly conventional view of the musician," said her mother. "If I dared to say such a thing to my own child I might add, without telling a dangerous lie, because you are so old-fashioned in your views. You can't forget having read the Vie de Bohême, and having heard, and unfortunately seen, Paderewski when you were a schoolgirl at Brighton."

"It is my beloved mother's fault that I ever was a schoolgirl at Brighton."

"Ah, don't press down that burden of crime upon my soul! Lift it, by freeing yourself from the Brighton tradition, which I ought to have kept for ever from you. And now, Max, tell us, whom does Mr. Heath know?"

"I know very little about his acquaintance. I met him first at Wonderland."

"What's that?" asked Charmian. "It sounds more promising."

"It's gone now, but it was a place in Whitechapel, where they had boxing competitions, Conky Joe against the Nutcracker—that kind of thing."

"I give him up, Te Deum, Conky Joe and all!" she exclaimed in despair.

"Do you mean me to meet him, Max?" asked Mrs. Mansfield.

"Yes. I can't keep him to myself any longer. I must share him with someone who understands. Come to-morrow evening, won't you, after dinner? Heath is dining with me."

"Yes. Is Charmian invited?"

Max Elliot looked at Charmian, and she steadily returned his gaze.

"You know," he said after a pause, "that you've got a certain hankering after lions?"

"Hankering! Don't, don't!"

"But you really have!"

"I will not be put with the vulgar crowd like that. I do not care for lions. Tigers are my taste."

He laughed.

"Do come then. But remember, there are plants which can only grow in darkness. And I believe this is one of them."

When Max Elliot had gone, Charmian sat for two or three minutes looking into the fire, where pale, steely-blue lights played against the prevailing gold and red. All the absurdity, the nonsense, had dropped away from her.

"Max Elliot seems quite afraid of me," she said at last. "Am I so very vulgar?"

"Not more so than most intelligent young women who are rather 'in it' in London," returned her mother.

"Surely I'm not a climber, without knowing it!"

"No, I don't think so. But your peculiar terror of mixing with the crowd naturally makes you struggle a little, and puff and blow in the effort to keep your head above water."

"How very awful! I don't know why it is, but your head always is well above water without your making any effort."

"I don't bother as to whether it is or not, you see."

"No. But what has it all to do with this Mr. Heath?"

"Perhaps we shall find out to-morrow night. Max may think you'll be inclined to rave about him."

"Rave about a cropped head that composes away from the piano!"

"Ah, that Brighton tradition!" said Mrs. Mansfield, taking up Steiner's Teosofia.

CHAPTER II

In the comedy of London Mrs. Mansfield and her daughter did not play leading parts, but they were, in the phrase of the day, "very much in it." Mrs. Mansfield's father had been a highly intelligent, cultivated, charming and well-off man, who had had a place in the Isle of Wight, and been an intimate friend of Tennyson, and of most of the big men of his day. Her mother had possessed the peculiar and rather fragile kind of beauty which seems to attract great English painters, and had been much admired and beloved in Melbury Road, Holland Park, and elsewhere. She, too, had been intelligent, intellectual and very musical. From Frederick Leighton's little parties, where Joachim or Norman Neruda played to a chosen few, the beautiful Mrs. Mortimer and her delightful husband were seldom missing. They were prominent members of that sort of family party which made the "Monday Pops" for years a social as well as an artistic function. And their small, but exquisite house in Berkeley Square, now inherited by their daughter, was famous for its "winter evenings," at which might be met the crème de la crème of the intellectual and artistic worlds, and at which no vulgarian, however rich and prominent, was ever to be seen.

Mrs. Mansfield, quite instinctively and naturally, had carried on the family tradition; at first with her husband, Arthur Mansfield, one of the most cultivated and graceful members of their "set," and after his death alone. She was well off, had a love of beauty and comfort, but a horror of display, and knew everyone she cared to know, without having the vaguest idea who was, or was not, included in "the smart set." Having been brought up among lions, she had never hunted a lion in her life, though she had occasionally pulled the ears of one, or stroked its nose. She had been, and was, the intimate friend of many men and women who were "doing things" in the world. But she had never felt within herself the power to create anything original, and was far too intelligent, far too aristocratic in mind, to struggle impotently to be what she was not meant to be, or to fight against her own clearly seen limitations.

Unlike Mrs. Mansfield in this respect Charmian struggled, and her mother knew it.

On the following evening, when Charmian and her mother were dining together before going to Max Elliot's, she said rather abruptly:

"Why didn't Mr. Elliot invite us to dinner to-night, do you think?"

"Why should he have invited us?"

"Well, perhaps it wasn't necessary. But surely it would have been quite natural."

"Probably he wanted to prepare the new note for you."

"Why should I require preparation?"

"The new note!"

"Why should the new note require preparation against me?"

"I said for you. Possibly we may find out this evening. Besides Delia is in a rest cure as usual. So there is no hostess."

Delia was Max Elliot's wife, a graceful nonentity who, having never done a stroke of work in her life, was perpetually breaking down, and being obliged to rest expensively under the supervision of fashionable doctors. She was now in Hampstead, enclosed in a pale green chamber, living on milk and a preparation called "Marella," and enjoying injections of salt water. She was also being massaged perpetually by a stout young woman from Sweden, and was deprived of her letters. "No letters!" was a prescription which had made her physician celebrated.

"Oh, the peace of it!" Mrs. Elliot was faintly murmuring to the athletic masseuse, at the very moment when Charmian said:

"There very seldom is a hostess. Poor Max Elliot!"

"He's accustomed to it. And Delia must be doing something. This time she may be cured. Life originally issued from the sea, they say."

"Near Margate, I suppose. What a mystery existence is!"

"Are you going to be tiresome to-night?"

"No, I won't, I won't. But if he plays his Te Deum I know I shall sleep like a tired child."

"I don't suppose he will."

"I feel he's going to."

"Then why were you so anxious to go?"

"I don't like to be left out of things. No one does."

"Except the elect. How thoughtful of you to dress in black!"

"Well, dearest, you are always in white. And I love to throw up my beautiful mother."

Mrs. Mansfield put an arm gently round her as they left the dining-room.

"You could make any mother be a sister to you."

Just before ten their motor glided up to the Elliots' green door in Cadogan Place.

Max Elliot was the very successful senior partner of an old-established stockbroking firm in the City. This was a fact, so people had to accept it. But acceptance was made difficult by his almost strangely unfinancial appearance and manner. Out of the City he never spoke of the City. He was devoted to the arts, and especially to music, of which he had a really considerable knowledge. All prominent musicians knew him. He was the friend of prime donne, a pillar of the opera, an ardent frequenter of all the important concerts. Where Threadneedle Street came into his life nobody seemed to know. Nevertheless, his numerous clients trusted him completely as a business man. And more than one singer, whose artistic temperament had brought her—or him, as the case might be—to the door of the poorhouse, had reason to bless Max Elliot's shrewd business head and generous industry in friendship. He had a good heart as well as a fine taste, and his power of criticism had not succeeded in killing his capacity for enthusiasm.

"He's not begun yet!" murmured Charmian to her mother, as the butler led them sedately down a rather long hall, past two or three doors, to the music-room which Elliot had built out at the back of his house.

"I never heard that he was going to begin at all. We haven't come here for a performance, but to make an acquaintance."

Charmian twisted her lips, and the butler opened the door and announced them.

At the end of the room, which was panelled with wood and was high, by a large open fireplace, Max Elliot was sitting with Paul Lane and two other people, a woman and a young man. The woman was large and broad, with brown hair, reckless hazel eyes, and a nose and mouth which suggested a Roman emperor. She looked about thirty-five. In her large ears, which were set very flat against her head, there were long, diamond earrings, and diamonds glittered round her neck. She was laughing when the Mansfields came in, and went on laughing while Max Elliot went to receive them.

"Mrs. Shiffney has just come," he said. "Paul has been dining."

"And—the other?" murmured Charmian, with a hushed air of awed expectation which was not free from a hint of mockery.

Mrs. Mansfield sent her a glance of half-humorous rebuke.

"Claude Heath," answered Elliot.

"How wonderful he is."

"Charmian, don't be tiresome!" observed her mother, as they went toward the fire.

The two men got up, and Charmian had an impression of height, of a bony slimness that was almost cadaverous, of irregular features, rather high cheek-bones, brown, very short hair, and large, enthusiastic and observant eyes that glanced almost piercingly at her, and quickly looked away.

Mrs. Shiffney remained in her armchair, moved her shoulders, and said in a rather deep, but not disagreeable voice:

"Mr. Heath and I are hearing all about 'Marella.' It builds you up if you are a skeleton and pulls you down if you are enormous, as I am. It makes you sleep if you suffer from insomnia, and if you have the sleeping sickness it wakes you up. Dr. Curling has patented it, and feeds his patients on nothing else. Delia is living entirely on it, and is to emerge looking seventeen and a female Sandow. Mr. Heath is longing to try it."

She had held out a powerful hand to the new arrivals, and now turned toward the composer, who stood waiting to be introduced.

"Oh, but no, please!" said Heath, speaking quickly and almost anxiously, with a certain naïveté that was attractive, but that did not suggest simplicity, but rather great sensitiveness of mind. "I never take quack medicines or foods. I have no need to. And I think they're all invented to humbug us."

Max Elliot took him by the arm.

"I want to introduce you to a dear friend of mine, Mrs. Mansfield."

He paused and added:

"Mr. Claude Heath—Miss Mansfield."

Paul Lane began talking to Charmian when the two handshakes—Heath had shaken hands quickly—were over. She looked across the room, and saw her mother in conversation with the composer. And she knew immediately that he had conceived a strong liking for her mother. It seemed to her in that moment as if his liking for her mother might prevent him from liking her, and, she did not know why, she was aware of a faint sensation of hostility toward him. Yet usually the fact that a man admired, or was fond of, Mrs. Mansfield predisposed Charmian in his favor.

Perhaps to-night she was in a tiresome mood, as her mother had hinted.

As she talked to Paul Lane, whom she had known pretty well for years, and liked as much as she could ever like him, she was secretly intent on the new note. Her quick mind of an intelligent girl, who had seen many people and been much in contact with the London world, was pacing about him, measuring, weighing, summing up with the audacity of youth. Whether he pleased her eyes she was not sure. But through her eyes he interested her.

Heath was tall, and looked taller than he was because he was almost emaciated, and he was a plain man whom something made beautiful, not handsome. This was a strange, and almost mysterious imaginativeness which was expressed by his face, and even, perhaps, by something in his whole bearing and manner. It looked out certainly at many moments from his eyes. But not only his eyes shadowed it forth. The brow, the rather thin lips, the hands, and occasionally their movements, suggested it. His face was not what is often called "an open face." Although quite free from slyness, or anything unpleasantly furtive, it had a shut, reserved look when his eyes were cast down. There was something austere, combined with something eager and passionate, in his expression and manner. Charmian guessed him to be twenty-six or twenty-seven.

He was now turned sideways to Charmian, and was moving rather restlessly on the sofa beside Mrs. Mansfield, but was listening with obvious intentness to what she was saying. Charmian found herself wondering how she knew that he had taken a swift liking to her mother.

"Did you have an interesting time at dinner?" she asked Paul Lane.

"Not specially so. Music was never mentioned."

"Was boxing?"

"Boxing!"

"Well, Mr. Elliot said he and Mr. Heath met first at a place in Whitechapel where Conky somebody was fighting the Nutcracker."

Lane smiled with his mouth.

"I suspect the new note to be a poseur, not quite of the usual species, but a poseur. Most musicians are ludicrously of their profession. This one is too much apparently detached from it to be quite natural. But the truth is, nobody is really natural. And no doubt it's a great mercy that it is so."

Charmian looked at him for a few seconds in silence. Then she observed:

"You know there's something in you that I can't abide, as old dames say."

This time Lane really smiled.

"I hope so," he said. "Or else I should certainly lack variety. Well, Max, what is it?"

"Mrs. Shiffney wants you."

"I always want him. I swim in his irony and can't sink, like a tourist in the Dead Sea."

"What a left-handed compliment!"

"A right-handed one would bore you to death, and my aim in life is—"

"To avoid being bored. How often do you succeed in your aim?"

"Whenever I am with you in this delightful house."

"It is delightful," said Charmian to her host. "But why? Of course it is beautiful. But that's not all. It's personal. Perhaps that's it."

She got up, and walked slowly away from the fire, very naturally, with a gesture, just touching her soft cheek and fluttering her fingers toward the glow, as if she were too hot. Max Elliot accompanied her.

"And all the lovely music that has sounded here," she continued, "perhaps lingers silently in the air, and, without being aware of it, we feel the vibrations."

She sat down on a sofa near the Steinway grand piano, which stood on a low dais, looked up at Max Elliot, and added, in quite a different voice:

"Shall we hear any of his music to-night?"

"I believe now we may."

"Why—now?"

Elliot looked toward Mrs. Mansfield.

"Because of mother, you mean?"

"He likes her."

"Anyone can see that."

After a moment she added, with a touch of irritation:

"He's evidently very difficile for an unknown man."

"No, it isn't that at all. If you ever know him well, you will understand."

"What?" she asked with petulance.

"That his reserve is a right instinct, nothing more. Between ourselves," he bent toward her, "I made a little mistake in asking Mrs. Shiffney, delightful though she is."

"I wondered why you had asked her, when you didn't want even to ask me."

"Middle-aged as I am, I get carried away by people. I met Mrs. Shiffney to-day at a concert. She was so absolutely right in her enthusiasm, so clever and artistic—though she's ignorant of music—over the whole thing, that—well, here she is."

"And here I am!"

"Yes, here you are!" he said genially.

He had been standing. Now he sat down beside her, crossed one leg over the other, held his knee with his clasped hands, and continued:

"The worst of it is Mrs. Shiffney has made him bolt several doors. When she looked at him I could see at once that she made him feel transparent."

"Poor thing! Tell me, do you enjoy very much protecting all the sensitive artistic temperaments that come into this room? Do you enjoy arranging the cotton-wool wadding so that there may be no chance of a nasty jar, to say nothing of a breakage?"

He pursed his rather thick lips, that smiled so easily.

"When the treasure is a treasure, genuinely valuable, I don't mind it. I feel then that I am doing worthy service."

"You really are a dear, you know!" she said, with a sudden change, a melting. "It was good of you to ask me, when you didn't want to."

She leaned a little toward him, with one light hand palm downward on the cushion of the sofa, and her small, rather square chin thrust forward in a way that made her look suddenly intense.

"I'll try not to be like Mrs. Shiffney. I'll try not to make him feel transparent."

"I'm not sure that you could," he said, smiling at her.

"How horrid of you to doubt my powers! Why, why will nobody believe I have anything in me?"

She brought the words out with a force that was almost vicious. As she said them it happened that Claude Heath turned a little. His eyes travelled down the room and met hers. Perhaps her mother had just been speaking to him of her, had been making some assertion about her. For he seemed to look at her with inquiry.

When Charmian turned away her eyes from his she added to Max Elliot:

"But what does it matter? Because people, some people, can't see a thing, that doesn't prove that it has no existence. And I don't really care what people think of me."

"This—to your old friend!"

"Yes. And besides, I expect one must possess to discover."

Her voice was almost complacent.

"You deal in enigmas to-night."

"One ought to carry a light when one goes into a cave to seek for gold."

But Elliot would not let her see that he had from the first fully understood her impertinence.

"Let us go back to the fire," he said. "Unless you are really afraid of the heat. Let us hear what your mother and Heath are talking about."

"I'm not afraid of anything except a Te Deum."

"There's Mrs. Shiffney speaking to him. I don't think we shall have it to-night."

"Then I'll venture to draw near," said Charmian, again assuming a semblance of awe.

The minx was evidently uppermost in her as they approached the others. She walked with a dainty slowness, a composed consciousness, that were almost the least bit affected, and as she stood still for a minute close to her mother, with her long eyes half shut, she looked typically of the world worldly, languid, almost prettily disdainful.

Mrs. Shiffney was speaking of the concert of that afternoon with discrimination and with enthusiasm.

"Of course he's a little monkey," she concluded, evidently alluding to some artist. "But what a little monkey! I was in the front row, and he called my attention to everything he was going to do, sometimes in Russian, sometimes in dreadful French, or in English that was really a criminal offense, and very often with his right elbow. He has a way of nudging the air in one's direction so that one feels it in one's side. Animal magnetism, I suppose. And he begs for sympathy as if it were a biscuit. Do you know him, Mr. Heath?"

"No, not at all. I know very few big artists."

"But all the young coming ones, I suppose? Did you study abroad?"

"I went to the Royal College at Kensington Gore."

Mrs. Shiffney, who was very cosmopolitan, had a flat in Paris, and was more often out of England than in it, slightly raised her eyebrows.

"You haven't studied in France or Germany?"

Heath began to look rather uncomfortable, and slightly self-conscious.

"No," he said quickly.

He paused, then as if with a decided effort he added:

"I think the training a student gets at the Royal College is splendid."

"Of course it is," said Max Elliot, heartily.

Mrs. Shiffney shook her shoulders.

"I'm sure it's quite perfect," she said, in her rather deep voice, gazing at the young composer with eyes in which a light satire twinkled. "Don't think I'm criticizing it. Only I'm so dreadfully un-English, and I think English musicians get rather into a groove. The Hallelujah bow-wow, you know!"

At this point in the conversation Charmian tranquilly interposed.

"Mr. Heath," she said, slightly protruding her chin, "when you've done with my only mother"—Mrs. Shiffney's lips tightened ever so little—"I want you to be very nice to me."

"Please tell me," said Heath, with the almost anxious eagerness that seemed to be characteristic of him.

Mrs. Mansfield fixed her blazing eyes on her daughter, slightly drawing down her gray eyebrows.

"Well, it's rather a secret."

Charmian glanced round at the others, then she added:

"It's about the Nutcracker."

"The Nutcracker!"

Heath puckered up his forehead.

"Yes." She moved a little, and looked at the chair not far from the fire on which she had sat when first she came into the room. "I care rather for boxing. Now"—she went slowly toward the chair, followed by Heath, "what I want to know, and what you can tell me, is this"—she sat down, and leaned her chin on her upturned palm—"on present form do you believe the Nutcracker is up to Conky Ja-ky Joe?"

As Claude Heath sat down to reply to this question, Mrs. Shiffney said:

"Conky Jarky Joe! I thought I was dans le mouvement up to my dog-collar, but I know nothing about the phenomenon. Where does it belong to?"

"Wonderland," said Elliot, in a gravely romantic voice.

"That's the land I've never seen, although I've had the yacht for so many years."

"Nor I!" said Paul Lane. "I don't believe it exists, or we must have been there. We have both been everywhere."

"Tell the poor things about it," said Mrs. Mansfield. "Then Adelaide can get up steam on The Wanderer and realize her dreams."

"But Mr. Elliot told me he met you there, and I remember distinctly his saying the fight was on between those two pets of the ring," said Charmian plaintively, after a certain amount of negation from Claude Heath.

"Yes, but I'm sure he didn't tell you I was an authority on boxing form."

"You aren't?"

"No, indeed!"

"But you want to be?"

"I shouldn't mind. But it isn't my chief aim in life."

Charmian was silent. She leaned back, taking her chin from her hand, and at last said gravely:

"It isn't that, then?"

"That—what?" exclaimed Heath, looking at her and away from her.

"That you want. It's something else. Because you know you want a very, very great deal of something."

"Oh, a good many of us do, I suppose."

"I don't think I do. I'm quite satisfied with my life. I have a good mother, a comfortable home. What should a properly-brought-up English girl, who has been educated at Brighton, want more?"

"I'm very glad indeed to know that a Brighton education stands its receiver in such good stead in the after years, very glad indeed!"

"You are laughing at me. And that's unchristian."

"Oh, but—but you were laughing at me!"

Despite Heath's eagerness, and marked social readiness of manner, Charmian was disagreeably conscious of a mental remoteness in him. Only the tip of his mind, perhaps scarcely that, was in touch with hers. Now she almost regretted that she had chosen to begin their acquaintance with absurdity, that she had approached Heath with a pose. She scarcely knew why she had done so. But she half thought, only half because of her self-respect, that she had been a little afraid of him, and so had instinctively caught up some armor, put a shield in front of her. Was she really impressed by a well-spoken-of Te Deum? She glanced at Heath inscrutably, as only woman can, and knew that she was not. It was the man himself who had caused her to fall into what she already thought of as a mistake. There was in Heath something that almost confused her. And she was not accustomed to be confused.

"I've made a bad beginning," she almost blurted out, not able to escape from artifice, yet speaking truth. "And I'm generally rather good at beginnings. It's so easy to take the first step, I think, despite that silly saying which, of course, I'm not going to quote. It's when one is getting to know a person really well that difficulties generally begin."

"Do they?"

"Yes, because it's then that very reserved people begin hurriedly building barricades, isn't it? I ask you, because I'm not at all reserved."

"But how should I know any better than you?"

"You mean, when you're so unreserved, too? No, that's true."

Heath's eyes troubled Charmian. She was feeling with every moment less at ease in his companionship and more determined to seem at ease. Being generally self-possessed, she had a horror of slipping into shyness and so retrograding from her usual vantage ground. She expected him to speak. It was his turn. But he said nothing. She felt sure that he had seen through her last lie, and that he was secretly resenting it as a heavy-footed approach to sacred ground. What a blunderer she was to-night! Desperation seized her.

"We must leave the question to the reserved," she said. "Poor things! I always pity them. They can never taste life as you and I and our kind are able to. We are put here to try to know and to be known. I feel sure of that. So the reserved are for ever endeavoring to escape their destiny. No wonder they are punished!"

"I am not sure that I entirely agree with your view as to the reason why we are put here," observed Heath, without a trace of obvious sarcasm. Nevertheless, the mere words stung Charmian's almost childish self-conceit.

"But I wasn't claiming to have pierced the Creator's most secret designs!" she exclaimed. "I was simply endeavoring to state that it can scarcely be natural for men and women to try to hide all they are from each other. I think there's something ugly in hiding things; and ugliness can't be meant."